Yeah, I think that it will look good, too. The sky takes up so much of the image that it's going to be a very important part of the picture. So, of course, a simple blue sky wouldn't have done. Threatening clouds with some lightning in the far distance is what I'm picturing. Sort of the way I did the sky in my ship painting. A storm that's coming is always a lot more dramatic than one that's already here. By the way...you work in oils, right? Have you ever tried oil sticks? Been tempted to give them a try.

Good morning Joseph. Yes I have tried them. To me it is much like drawing, but without the ability to do the finite detail one can achieve with a pencil point. Of course if I spent some time learning them that issue would be worked out. But, there is just something about them that I don't care for. It has taken seven years or so to learn the pallet knife to this point and I still have much to learn. I like the power of presentation with this technique with the colors blending, dappling, overlaying each other with the various layers of paint. So, I intend to stick with this until I learn how to do a portrait with pallet knives.

Good afternoon. I have three painted posts on this one. I thought I would show the process of laying the colors, and dabbling them in the two sections of upper and lower. This sky is very active as if a storm is brewing but not yet arrived. I have decided to do it that way to introduce an element of anticipation in the viewer. I don't know yet if this sky is in the finished state or not. The painting will talk to me to tell me what it wants to be.

Is that paint as heavily built up as it looks in the photo, or is that just an optical illusion? It seems to sit so high that it casts a shadow. Looks good, but hard to really judge at this point without the rest of the painting at least blocked in. You know what I mean? As a matter of fact, I had a hard time seeing it as a sky at first. But when I blocked the bottom half of the picture with one hand and looked at the sky, only, it seems to work. Hope that makes sense. The second from the last has a Van Gogh look to it. I can imagine one of his highly impressionistic fields below those clouds. And by the way...I mentioned you in a post down in Just showing. As a matter of fact...you're name is in the post title! Thanks.

Thanks for taking the time to comment Joseph. I cannot count the number of times I have been compared to Van Gogh. Actually, I do not like his work. But, I think I understand his quest as I think I am on the same road. We can discuss that at a later time if you wish.

As to the painting, no, the sky is manifested based on your suggestion about adding drama. I use photos as a reference for forms, shapes, color intensities, and compositional qualities that I manipulate into paintings. I learned a long time ago that to copy a photo was a useless effort for me as the painting looked like a photo, thus destroying the visceral reaction of seeing a painting.

It appears that Grand Canyon V demanded to be done before Grand Canyon VI. Kind of nice in a way. In the ordered sense. I have been know to finish the last painting in a series or collection before I finished the fourth or fifth painting. Anyway, this painting is progressing at its own demand. I have placed the far canyon wall in to make the demarcation between the sky and the earth. This painting is not talking to me.

It is singing. It is becoming a manifestation of my mind's eye effort to produce an abstract realism presentation of recognizable imagery that the viewer can at once see and know what it is while at the same time can have an emotional involvement. Of course, that is if I have the skill to do it. I will leave it to others to classify the 'type, or school' it belongs to. I used to be interested in such classification. I now consider that an effort for others who do not manifest beauty but need to somehow organize stuff. Enjoy this post.

I don't like the whole classification tendency, either. I tend to be rather eclectic in my artistic tastes. You'll remember that I did a train and a WW2 Destroyer in, more or less, realistic style, but then went over to a more impressionistic type of painting for the landscapes. Now I really want to try this pallet knife painting. Very excited about doing that.I'm in agreement when using photos, too. If I do, I change them. I use them as a basis for the painting, only. But my paintings are never exact duplicates of the photograph. That would bore me. There would be no surprises. I already know what's in the photo. Wouldn't be very much fun at all. If your painting is singing to you then you are on the right track. The artwork done with passion is always best. If it bores the painter, how can he expect the viewing public to find it exciting? I think we're both enjoying this whole painting thing way too much.

Good evening. This is the last post for the day. Have to attend to feeding the dogs and preparing dinner as well as reconnecting with my wife. It is going to be a pleasant evening here. I am satisfied with the think, think, think, and then the do process on this painting. When working with the knife I must attend to the direction of the movement, be it vertical, horizontal or slanted as each direction enhances the eye movement and the light play upon the painting. That varied interplay between the directionality of the paint and how the viewer interprets the forms, textures, and light enter play is what makes a pallet knife painting stand out more than a brush painting. At least that is so with me. Moving on, here is the post.

Hi Carl, I have just gone through this entire thread and really enjoyed reading what you have shared and seeing your work evolve.

The Grand Canyon is such a great subject. You see the awesome immensity of it at a glance, but at the same time, you also see how any corner of it, or any nook or cranny is filled with infinite detail... something like a person, just as you describe in your very brief bio on this thread!

I have worked in most styles and formats, but in recent years mostly with palette knives. Anyway, it has been a real pleasure to read and I look forward to checking in again soon!

thank-you Carl, I have an abstract landscape theme that I call "Art Whitewater" which I have done a few paintings in that is loosely (remotely?) based on a Grand Canyon-style visual impression. I don't think I have it clearly indicated on my website (another job to do!). But I'm thinking that just seeing your work and your process (combined with a memorable visit to the GC a number of years ago) may inspire me to attempt a more realistic approach to it one of these days!

A while back I somehow figured out how to put my website link into my message board signature, something that this site generously provides artists with a way to do. thanks for checking it out

Good morning. This is a one post episode. I had to go back in and do some more drawing on the canvas. Some manipulation with the forms, again. That strong dark angled strike in the sky demanded that the sudden downward view motion in the viewer had to be stopped within the painting. So, I changed the canyon field by making that deep bluffs crevasse on the lower left side of the painting. I think it causes the view to spring back up into the sky, then drift to the right again thus creating a three point eye movement within the canvas. After that initial movement will come the relaxed perusal of the painting allowing the viewer to take some time to enjoy the whole scene depicted on this canvas.

Good morning. I have four posts today. Although they are small changes posts I felt it important to give special attention to each change. First update is dealing with a little more canyon walls drawing. The second update is doing a little more defining of the horizon while making the canyon bluff on the left higher. It seems my drawing and painting are merging in the process. I feel I can see and develop more using this technique. Never done that before. It just happened as I was working without even thinking about it. Think I will follow this production pattern for awhile and see where it leads me. Third update is laying in the red sandy tones just under the horizon. That change in color introduces the beginning of the canyon depth sensation. The fourth update introduces the greens seen in the canyon in the spring when we visited it. I am beginning to see how powerful and raw this painting will become when finished.

Good afternoon. It has been a good day. There are five progress posts today. I finally figured out what I wanted and then jumped in to the painting. It just sort of happened as I watched. Love that when it happens. What I figured out was what color intensities and the mixtures of values, tones and the interplays of the shapes that would lead the viewer down into the canyon. If the shading was to light then it would detract from the sky. If the shading was to dark then it would get lost under the sky. Most difficult, that sky, how to keep the drama without overshadowing it by the land masses and how to not diminish the drama by making the landmass of the canyon the wrong color value. I think I got it. I am posting this process in five steps to show how my concept is laid in on the canvas. Comments always welcome.

Good evening Joseph. Thanks for your comments and question. Direct answer to the question is I don't know. But I don't think so as I think it would turn this into a cartoon. I think animal life would become the center of attention rather than the power presented in the whole painting. I don't want that. I want the viewer to be awe struck by the painting itself without "trickery" the same way I was awe struck the first time I saw the canyon in person. At least that is the present goal. I have to let the painting talk to me some more.